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Once again we draw your attention to the sensational animated short film I, Pet Goat II that caused such a stir and contains numerous signs and symbols in its fleeting shots, definitely needing decryption. This momentous animation was obviously created with a hidden purpose. We’ve decided to post one of versions of this prophetical puzzle decryption on our website, since the basic subject of the video is what we are mostly interested in: the advent of Messiah and destruction of the old world foundations.

Explanation by the video creator:

First of all, I’d like to say the film came to me in a visual form, like to an artist who sees colours and shapes with his mind’s eye. And I endeavoured to reflect what I saw accurately, not always understanding the meaning. Some symbols were quite evident. To decode others I had to rack my brain over them pretty much. I don’t claim to be an expert in symbolism. I’m just advancing in studying symbols little by little. I don’t claim to know the truth. As I understand, the language of archetypes is filled with much deeper meaning than the language of words. Thus, archetypes may be interpreted in a simplified way only. It’s same as trying to explain a poem.

In view of the recent events relating to some people’s concern about the emergence of a peculiar sign – a circle and a crescent (under the circle) – in the streets of Slavic cities (though for justice’ sake let’s note the sign first appeared on city billboards a couple of years ago and has always been there since that time as this post vividly demonstrates), we would still like to carry out an impartial analytical research of the nature of this phenomenal image, its origin, meaning and informational content. By the way, our intention to look into the issue in more detail appeared quite a while ago, but we have been postponing this work due to its complexity, because any more or less serious research first and foremost presupposes collection and analysis of a considerable stratum of information, which takes a lot of time and effort. Yet, now such material has become very topical, and so I’ll do my best to put down certain interesting points.

And the great Angkor again! After publication of the sensational article The revealed secrets of Angkor and Giza plateau – the pendulum of Orion and Dragon we continued the subject in Angkor Wat. Architecture, frescoes and sacral numbers 7 and 72, while in this new article we present a unique opportunity for our readers to look into the mysterious and marvellous world of Angkor Wat ancient architecture, to peer at mythology images and intricate scenes depicted on frescoes and bas-relief friezes of the truly unique and one of the largest ever created temple complexes, the construction of which was taking place for over three hundred years. Those people who have already familiarized themselves with the Primordial Knowledge brought to the world by Bodhisattva Rigden Djappo will certainly have an advantage over ordinary viewers, since, looking at the images in the light of the Knowledge, they will be able to “read” and decipher certain sacral motives and symbols graven in stone for ages. We’ve especially numbered the images for those who will wish to share their opinions and interpretations in the comment section. For such people the matchless scope of the Angkor Wat idea is, first and foremost, an indicator of the very high level of Khmer people’s spiritual culture and proximity to God. And for all the rest it will be apparently a mere exotic rarity and implementation of somebody’s megalomania. Well, everyone errs to the extent of their ignorance.

I am fond of stars, and you? I wouldn’t be mistaken if I say everyone drew a star at least once in their lifetime. Of course, it’s more characteristic for children who draw spaceships flying towards stars or the night sky with stars and the moon; draw a Christmas tree with a star on its top, or their grandfather who passed the war with a star on his chest. Numerous examples can be made of how stars are depicted in children’s art. And adults, I think, draw stars from time to time, why not?

Heraldic traditions came to Slavic lands from Western Europe, whereas the word gerb found in several Slavic languages originates from the German erbe meaning “heritage”, “inheritance”. In the Middle Ages, when feudal relations were strengthening in Europe, it became necessary to single out feudal lords among their vassal environment. Moreover, in the times of tournaments and crusades, when a knight was covered with armour and had a closed visor on his helmet, it was totally unclear who he was and which nation and family he belonged to. Thus, insignias were absolutely necessary. One’s coat of arms was exactly an indicator of one’s name and title. Knights mostly drew their coats of arms on their shields, and that was the origin of the major heraldic tradition. Later on city coats of arms began to emerge.

Hence, there was surely no coat of arms in Kiev in the times of Kievan Rus, though Kievan princes did have their personal seals. In fact, every prince had such a seal to mark his property and sign his orders.

Here we would like to talk about such place as Lake Seydozero, which is very interesting due to numerous local mysterious phenomena, myths and stories. Frequent UFO and yeti sightings, anomalous natural phenomena, traces of ancient civilization activities, and the inimitable beauty of local nature – all these attract researchers, travellers, psychics, and mystery fans. At that, various studies of this place produce more questions than answers.

Having “accidentally” discovered an online collection of images of archaeological artefacts (statuettes and sculptures) devoted to female deities – Mothers of the World, we experienced another culture shock. Based on the primary source it can be concluded the materials were collected by Kulturologia.ru project to whom we express our sincere gratitude. They have brought together an enormous number of facts confirming that in all times, starting from deep antiquity and almost until today, famous and honoured women and female images (also called goddesses) were depicted in various cultures, civilizations and ages, in particular erected of stone, wood or plaster, in frescoes, paintings or bas-reliefs.

This material was not planned, but emerged unexpectedly as an addition to the article dedicated to Quetzalcoatl (Part One of the In quest of… series), who reached the shore of Yucatán Peninsula in the 10-11th century and gave spiritual knowledge, culture and flourishing to Toltec tribes. As you remember, in the said article I endeavoured to find traces of the Primordial Knowledge on the ruins of extinct Native American civilizations, and I intend to continue this work herein.

To avoid unnecessary long prefaces, let me proceed to the main point and say that several days after the previous publication I got a short e-mail message referring to North American Iroquois tribes, which have been living for a long time and still live in a cultivated environment in the current US territory. Several images were attached to the message.

A journey to the remote 11th century series has proved to be much more difficult than I expected, though such difficulty even peps me up. During the last two months I felt ten times sorry for having started the theme. Max Vorontsov and Yura Ignatov who are searching for relevant information on the web also note a similar unclear pressure from outside. A part of my consciousness throws in numerous provocative questions and doubts about the reasonability of continuing the series, but at the same time the other part unexpectedly finds counterarguments, saying without such an analytical material dedicated to the initial preamble the whole website project may come down to a mere collection of authors’ lyrical opinions and lose its ultimate purpose. Therefore, we shall anyway endeavour to continue, though with a slight adjustment in our movement: we will minimize assumptions from our minds and refer only to universally recognized facts and discovered photographs. In particular, in this article we will have very, very many images, since the Pacific Ocean is truly immense.

What is the sky for us? When we peer at the bewitching view of the night firmament, unwittingly arises a sensation of perishability of our existence compared to the eternal silence of trillions of shining stars. There is a feeling that the starry arch is a gate to the incomprehensible, which begins right here on the earth. Perhaps, for this very reason since ancient times people believed in a heavenly divine being that had created the world. The prayer most widespread in the world is addressed to the Heavenly Father: “Our Father, Who art in heaven...”

Many of you certainly attend churches, temples or houses of prayer, and believe in Single God. For sure, many of you respectfully treat the great woman depicted on numerous icons and images, revered in various religions and denominations, and named Mary. Unfortunately, today we know almost nothing about who this woman was and what was her destiny; and hardly many people have an idea of the true essence and meaning of her superior spiritual feat.

We have already dedicated a number of articles and analytical publications to her in the Holy Mother of God (Virgin Mary) section, and today we would like to post a new series of photos clearly showing that in Christian images and icons of Virgin Mary the sign consisting of a circle and a crescent is widely present – the sign that is already familiar to many readers as the AllatRa sign (more details about it may be found in our relevant analytical material).

Recently my friends and I, inspired by the knowledge given in the AllatRa book, decided to go on a museum tour across our region in order to receive evidence that the signs and symbols indicated in ALLATRA and other books by Anastasia Novykh are indeed present all over the world.

While re-reading the article Keeper of Genesis. Part II. EdfuBuilding Texts. The wisdom god Thoth, I was carried away by the photographs of majestic Egyptian temples and once again noticed the abundance of hieroglyphs covering the temple walls. A question came to my mind, which had arisen several times before, though I had never got to profound clarification of the issue. What do those beautiful signs mean, and have scientists managed to decipher and understand what the wise ancient people endeavoured to communicate to their descendants? Then, owing to a hint given in the commentary section, I learned about a wonderful man whom we should thank for letting us know so much about the Egyptian mythology and rituals, as well as about Ancient Egypt in general. That man was Jean-François Champollion, a French scholar, philologist and orientalist, and a founding figure in the field of Egyptology. In this article we will exactly talk about this remarkable person, about his life devoted to the quest of Truth and his selfless labour for the benefit of humanity, which could be a good example for all of us.

In different times, same ornament elements were perceived and used in different ways, depending on people’s beliefs and views of the surrounding reality. Ornaments were attached a special interpretation, visual solution and style to. For instance, in ancient heathen beliefs a rose (rosette) was the flower of goddess Venus – the symbol of love and beauty; in the Middle Ages it symbolized the flower of the Mother of God, and in Islam it is the symbol of heavenly life and cosmic power: “rose blazes as the gift of the sun, while its petals are small moons”. Ancient decorative elements have been preserved in traditional arts of the peoples of Africa, Australia and Oceania, in ornaments of South American Indians. Their ornaments and decorative motifs include both real and geometric, conventionally stylized shapes.

In search of information to confirm what is written in the books by Anastasia Novykh, in particular the AllatRa book, I spent some time on the symbol of the Universe – the serpent biting or eating its own tail. The relevant part of the book is certainly rather difficult to understand without appropriate spiritual development and one’s personal experience, for it tells (no less than) about the structure of the Universe and the system of 72 dimensions that form it. Residing in the third dimension, it is surely quite hard to perform analysis on the subject, so let us start with a little point – the symbol itself. Below I will present a quote and a number of images, which all indicate that the symbol of the serpent eating its tail is rather well-known.

Once again we refer to Easter Island, the navel of the earth. Perhaps, the subject is not particularly interesting for many readers, but as an ordinary researcher I cannot omit another little “puzzle piece” to be added to our picture and refrain from mentioning it on our website. After the series of articles dedicated to this marvellous corner of the world situated in the middle of the boundless Pacific Ocean (Which secrets are hidden on Easter Island?, In quest of… The 11th century. Easter Island and Polynesia, Voice in one’s head and Easter Island) I suddenly wondered: should we assume the island was indeed attended by the great civilizer and Kind Friend of people, is it really possible that no traces of one of the main signs from the Primordial Knowledge has been preserved there? Here is what I discovered while rereading the book Aku-Aku: The Secret of Easter Island by Thor Heyerdahl.

Having equipped ourselves with a camera, my friends and I went to explore local cultural heritage sites. Luckily, Barcelona as one of the centres of Templar activities in the Middle Ages is full of architectural riches, so we had an opportunity with our own eyes to see signs and symbols that we had previously seen mostly in books.

However, what we saw there surpassed all our expectations. Local signs and symbols carefully and accurately placed by Knowledgeable people centuries ago still wait for an attentive eye to notice them. Like guiding stars, they are ready to show the road to those who can orient themselves by them. The AllatRa book became an indispensable compass for us in such doing.

Borobudur is the oldest Buddhist temple in the world and one of the most majestic ones. It is situated on Java Island, Indonesia. The period of construction: 750-850 AD. Its name is translated as “the Buddhist temple on the mountain”. It is the second largest Buddhist temple in the world after Angkor Wat. Constructors erected this monument in the shape of a mandala and an opening Lotus flower on a square base (118 x 118 m) that smoothly turns into a circle.

This article contains brief review and analysis of Trypillian anthropomorphic plastic art (hereinafter referred to as TAPA) or, in other words, anthropomorphic items made of burnt clay and associated with Cucuteni-Trypillian archaeological culture. The term anthropomorphic originates from the Greek word anthropomorphos and means “having a human or humanoid image”.

The purpose of this work is to familiarize readers with the aforesaid original culture, as well as to thoroughly extend knowledge of such a unique cultural phenomenon as TAPA. For this we shall analyse it not only from the viewpoint of mainstream science, but also from the perspective of sacral knowledge about the human nature as presented in the books by Anastasia Novykh.

Some people collect postage stamps, others collect magnets for their fridges; still others collect beautiful photographs or even BMW cars. You should agree that everybody collects something, and even those who are sure they collect nothing in fact do collect some vivid emotions, acute sensations or reminiscences in the bank of their memory. As for me, as many of you have probably noticed, I collect images with the AllatRa sign. I used to conduct a special blog www.allat-ra.com, although recently I ceased to be active there due to certain reasons relating to responsibility awareness. There is no need to invent anything when the central place in the blog heading is occupied by the ancient circle-and-crescent working sign – the AllatRa sign.

In many of our articles, information in one or another way relating to the serpent or dragon symbol arises quite often. Mentions of snakes and serpent / snake images are found everywhere, beginning with mythology, arts and architecture of nearly every nation and up to constellations reproduced in grandiose temple complexes on the Earth. Serpent symbolism was partially covered in the articles Gudea’s Goblet and The serpent biting its own tail as a symbol of the Universe. The subject has proved to be so extensive and interesting that we’ve decided to dedicate several more publications to it.

Perhaps, there is no corner on the Earth where there are no dragon legends and myths. These mysterious creatures have been capturing people’s minds since ancient times, gradually changing and gaining further new features and forms that contradict each other at first sight, for just as god Shiva a dragon embodies both the power of life and the power of destruction.

“A dragon is the spirit of transformation and thus the spirit of life itself.” Like the sphinx, a dragon is a symbol of unity of the four elements. In the Orient, a winding dragon symbolised creative rhythms and cycles of nature, while a pearl in its mouth meant the power of undertaking.

A very interesting point repeatedly found in books by Anastasia Novykh is the mythological image of Divine Twins. Twins are mentioned in the books in connection with myths of the universe creation, and also as bearers of the power of the Grail.

For a start, in order to understand this symbolic image and before we refer to relevant quotes from A. Novykh’s books and attempt to draw conclusions on this concept, let us briefly go over twin mythology and see how the said image was presented in various religions…

In earlier publications on our website you could have seen numerous images of mythological divine beings carrying peculiar “handbags” in their hands. Unfortunately, neither legends nor myths contain specific information about them, although we did manage to find some. There were surely relevant explanations in the past, but humanity has lost understanding, so today we are hardly able to answer the following question with confidence: “What do Gods carry in “handbags?” Why were there so many identical or very similar symbolic elements in various historical epochs on different continents? Well, many people might ask whether such riddles should be solved at all when everything rises in price, when climatic conditions deteriorate and the world approaches a brink of the third global war. As for me, I believe they should be.